Nicole Holofcener Quotes

Most scripts are bad. I read a lot of them.

You would not believe some of the scripts I have seen. I have read something like 160 that I've rejected, and I keep them all, for posterity.

I try to read everything that's sent me - play scripts, movie scripts - but I've had to make a rule. If the author hasn't grabbed me by Page 25, the piece goes back with a note of apology.

You try to go where the great scripts are, if you can, or you go where the not great scripts are, because that's what's being offered to you.

I do get a fair amount of scripts; I got 'Frozen River' kinda just that way. I have a hard time turning my back on anybody who says they have something for me.

I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something.

I've received some English-speaking scripts, but I was not interested in them.

You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.

My dad's got a brilliant eye for scripts 'cos he's a literary agent. He and my agent read a load of scripts and filter them.

I have tried to make decisions to work with great directors, with good scripts, and that makes the pickings real slim.

I have a lot of scripts that come my way, and some of them take a bit longer to read than others. There are a lot of things that I have to pass on because I'm just not into it, and sometimes the story is slightly forced.

I have a pile of scripts at home that I love. Some of them are hard to get made. We have to give up stuff. It's hard to get movies made.

I get so many scripts a day but none of them inspires me. If I get a good inspiring script, then I will be most happy to make it into a film.

My choice of script is governed by two factors - either I've to like the people associated with the project or the storyline should be interesting. I focus more on the vibe and the type of energy I get from them.

The only thing that we as actors really can control is to be able to say 'yes' or 'no' to the material.

I've got a big closet of scripts, and a big stack of scripts on the side of my desk, because you get a whole bunch. Nothing's going to be perfect, and I realize that; but I am a perfectionist, so you go through a lot of stuff.

I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.

I don't have a stack of scripts that, when I get home, studios are clamoring, saying, 'Has Bob read ours yet?'

I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.

I would have happily done 'Bourne Legacy,' but a lot of decisions are made for you.

I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.

I admit, I do a lot of projects, but it's because I'm in a position now where I'm reading a lot more scripts and plays and things, and I'm really listening to offers and trying to think what I want to do at any given time.

A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.

Most of the scripts that land on my desk are stuff you read and go, 'Is someone really gonna make this?'

I think I would like directing. I really like coming at the work that way.